Johannes Gebauer wrote:
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I don't think there is such a thing. I have a Henle
At 09:24 PM 10/15/06 -0700, Mark D Lew wrote:
I think I've cited this sample before, but a page on Recordare's site
http://lib.store.yahoo.net/lib/recordare/SullPina02Sample.pdf shows a
good example of the tug-of-war between lyrics and music.
There are hand-engraved scores where font width
On 16 Oct 2006 at 7:50, Johannes Gebauer wrote:
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I don't think there is
On 16.10.2006 David W. Fenton wrote:
Surely you've seen the tight spacing of André's engraving, which
would be completely unacceptable in modern engraving. My bet is that
André routinely exceeded the tightness of the Henle part you're
looking at.
I am sure he did, but that wasn't my point.
On 16.10.2006 dc wrote:
I was recently offered 5 USD per page of finished music by an American
publisher, for a scholarly edition of vocal music. How much time can one spend
tweaking the spacing of the music and the text at that rate?
For that rate they would get 5 measures per page (single
dc wrote:
Mark D Lew écrit:
Looking at the page it seems unremarkable, and you might never guess
how much tweaking was necessary to get to that point.
That's precisely why Finale should do a better job. I find that music
with lyrics requires at least twice as much tweaking, and probably
At 9:24 PM -0700 10/15/06, Mark D Lew wrote:
I think I've cited this sample before, but a page on Recordare's
site http://lib.store.yahoo.net/lib/recordare/SullPina02Sample.pdf
shows a good example of the tug-of-war between lyrics and music.
It's a recitative from a Gilbert Sullivan song.
On Oct 16, 2006, at 6:05 AM, dhbailey wrote:
There's just too many variables to take into account for a computer
to be allowed to be the final arbiter of what will result in the
best engraving, as far as performability goes. Note-head font
size, for instance. Leaving it full size makes
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At 7:50 AM +0200 10/16/06, Johannes Gebauer wrote:
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I don't think there is
On Oct 16, 2006, at 12:24 AM, Mark D Lew wrote:
I think I've cited this sample before, but a page on Recordare's
site http://lib.store.yahoo.net/lib/recordare/
SullPina02Sample.pdf shows a good example of the tug-of-war
between lyrics and music. It's a recitative from a Gilbert
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suggested using a 1.414 spacing under the widths to achieve a more
engraved look to scores and parts;-)
Henry Howey
Professor of Music
Sam Houston State University
Box 2208
Huntsville, TX 77341
(936) 294-1364
http://www.shsu.edu/~music/faculty/howey.html
Owner of FINALE Discussion
On Oct 15, 2006, at 9:50 AM, dc wrote:
For Andrew's collection.
algorhythm
algorism.
But these are not eggcorns. An eggcorn requires the substitution for
one legitimate word for another, with the substitution actually making
some kind of sense. For example, I've encountered
On Oct 16, 2006, at 9:42 AM, dhbailey wrote:
At $5/page, how much note entry can you do? You can make the same
money with less stress bagging groceries!
What, and leave show business?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
On Oct 16, 2006, at 1:26 PM, Andrew Stiller wrote:
--Anyway, though, my collection is restricted to eggcorns
unintentionally perpetrated in postings to *this list.*
So I suppose you HAVE to include my ...that doesn't jive with
current jazz performance practice instead of jibe?
I was sure I did know how to do this, but am hopelessly stuck now. I am
trying to set up the Drum Set staff playback. WinXP, Fin?05.
Could someone, please, tell me what am I doing wrong:
Channel 10, patch 1. STAFF TOOL --- click handle --- NOTATION STYLE
?Percussion? ---Select ---Create ---
How about
Anyway, the joyces were removed and the building collapsed miserably.
Poor girl.
Jerry
On 16-Oct-06, at 1:26 PM, Andrew Stiller wrote:
On Oct 15, 2006, at 9:50 AM, dc wrote:
For Andrew's collection.
algorhythm
algorism.
But these are not eggcorns. An eggcorn requires the
On 16.10.2006 Henry E. Howey wrote:
suggested using a 1.414 spacing under the widths to achieve a more
engraved look to scores and parts;-)
Well, 1.4 will do for me, it seems to round to 1.3997 in my default
file. I find this better than 1.6, which is more proportional, ie a half
note
John Howell wrote:
At 7:50 AM +0200 10/16/06, Johannes Gebauer wrote:
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I
I was using the term notehead font incorrectly -- I really meant the
music font in general. For hand-engraved music I don't know how they
measured such things, if they used the term font or not. The G.
Schirmer editions I'm thinking of are some flute books, where all the
notation is just way
Henry E. Howey wrote:
I was sure I did know how to do this, but am hopelessly stuck now. I am
trying to set up the Drum Set staff playback. WinXP, Fin?05.
Could someone, please, tell me what am I doing wrong:
Channel 10, patch 1. STAFF TOOL --- click handle --- NOTATION STYLE
?Percussion?
I succeeded very well to get the quartertone stuff entered into Finale
(and I now understand why some people prefer Speedy without MIDI
keyboard). Although playback is not really important to me, I do wonder
whether it is theoretically possible, without having to add expressions
to every note
Hi Dennis,
Dennis Bathory-Kitsz [EMAIL PROTECTED] wrote:
The last time I tried it, as you may recall, the transfer of
vector images and other graphical score actions was a disaster...
The limitations you mention are what I meant when I said that gaps in
translation tend to be due to
At 10/16/2006 02:20 PM, Gerald Berg wrote:
How about
Anyway, the joyces were removed and the building collapsed miserably.
Poor girl.
I hope she got out before the crash ;-)
Phil Daley AutoDesk
http://www.conknet.com/~p_daley
___
dc wrote:
Andrew Stiller écrit:
But these are not eggcorns. An eggcorn requires the substitution for
one legitimate word for another, with the substitution actually making
some kind of sense. For example, I've encountered
rottweiler--Rockwell, which I find hilarious, and just today a
dhbailey wrote:
dc wrote:
Andrew Stiller écrit:
But these are not eggcorns. An eggcorn requires the substitution for
one legitimate word for another, with the substitution actually
making some kind of sense. For example, I've encountered
rottweiler--Rockwell, which I find hilarious, and
At 10/16/2006 02:37 PM, dc wrote:
I disagree. Algorhythm for algorithm is very precisely an eggcorn from
what I read, since, with the (legitimate) word rhythm (instead of rithm),
it follows exactly the eggcorn pattern, with egg instead of a. And,
just as eggcorn can seem to have some meaning,
Johannes Gebauer wrote:
I succeeded very well to get the quartertone stuff entered into Finale
(and I now understand why some people prefer Speedy without MIDI
keyboard). Although playback is not really important to me, I do wonder
whether it is theoretically possible, without having to add
At 03:00 PM 10/16/06 -0400, dhbailey wrote:
Just as a thought, could you create the quarter-tone accidentals as
expressions, with playback set to Pitchwheel?
IIRC you can do that -- but Johannes said the music was already entered.
Dennis
___
dc wrote:
dhbailey écrit:
That French example is a spoonerism, not an eggcorn.
I'm not so sure. Ta mère for mater is one. But tabasse for
stabat doesn't work. Besides which, all the definitions I saw say a
spoonerism is for humorous effect. This one was committed, as all
genuine eggcorns,
At 08:22 PM 10/16/06 +0200, Johannes Gebauer wrote:
I succeeded very well to get the quartertone stuff entered into Finale
(and I now understand why some people prefer Speedy without MIDI
keyboard). Although playback is not really important to me, I do wonder
whether it is theoretically
At 11:22 AM 10/16/06 -0700, Michael Good wrote:
The limitations you mention are what I meant when I said that gaps in
translation tend to be due to economics more than technology. The
technology is there to fill those gaps, but nobody (yet) wants to pay
the product development costs. Similarly,
On 10/16/06, Dennis Bathory-Kitsz [EMAIL PROTECTED] wrote about
specific issues he was having with music XML. I am having my Finale files
converted over to Sibelius now. The full version of Dolet can not translate
the figured bass (which is input in Finale as a lyric), nor can it handle
There's this nice little utility that will tune your synthesizer to any
tuning you like. You can even define your own tuning.
http://www.xs4all.nl/~huygensf/scala/
dhbailey wrote:
Johannes Gebauer wrote:
I succeeded very well to get the quartertone stuff entered into Finale
(and I now
Well, my dictionary, for one place.
JR
On 10/16/06 2:55 PM, Phil Daley [EMAIL PROTECTED] wrote:
I thought the 2 words were:
algorhythm
algorism.
Where did algorithm come from?
Phil Daley AutoDesk
http://www.conknet.com/~p_daley
Here's an eggcorn that had me confused for too many years. (I refuse
to divulge how recently I learned otherwise.)
The point is mute, or a mute court, instead of, of course, moot.
It kinda makes sense which is probably why I kept it for so long.
-Randolph Peters
P.S. I also like the
The problem with creating quarter-tones as expressions solely for
playback purposes is that they are then not treated equal to other
accidentals with regards to spacing, or just about anything else!
Whether it's a task for Finalescript or something yet to be developed,
but I can't see how it's
I don't think Scala is really the solution to this problem - what seems
to be needed in this case is a way of getting Finale to create quarter
tones out of a standard setup, rather than reprogramming the synth and
then writing music to match.
-Original Message-
From: [EMAIL PROTECTED]
The easiest way to get microtonal playback within Finale is to set up a
non-standard key signature in Finale, and then play to a synth via a
midi retuning relay program. I use InTun (which can be found at
http://rainwarrior.thenoos.net/intun/index.html ), a realtime midi
retuning program by
On Oct 16, 2006, at 5:13 PM, Randolph Peters wrote:
Here's an eggcorn that had me confused for too many years. (I
refuse to divulge how recently I learned otherwise.)
The point is mute, or a mute court, instead of, of course, moot.
It kinda makes sense which is probably why I kept it for
Owain Sutton wrote:
I don't think Scala is really the solution to this problem - what seems
to be needed in this case is a way of getting Finale to create quarter
tones out of a standard setup, rather than reprogramming the synth and
then writing music to match.
This would require either a
At 10:24 PM 10/16/06 +0100, Owain Sutton wrote:
Whether it's a task for Finalescript or something yet to be developed,
but I can't see how it's beyond the realms of possibility for notes with
accidental X to be given particular midi data, while notes with
accidentals Y Z are treated normally.
At 05:33 PM 10/16/2006, Christopher Smith wrote:
I kind of liked Chandler's (dim character on Friends, a TV show)
explanation of it's all moo now. You know, like who cares what a
cow's opinion of it is. It's just moo.
Instinct tells me you must be thinking of Joey...and
Dennis Bathory-Kitsz wrote:
What if Finale is set up to output a stretched scale, so that C is assigned
60, D is assigned 64, and E is assigned 68, etc., up to 83 for B-1/4#?
Okay, so long as you stay within a single octave, you're golden. But Finale
puts all the pitch classes together. That is,
At 12:31 AM 10/17/06 +0200, Daniel Wolf wrote:
The non-standard key signatures don't work that way. An octave is
defined as having x tones, each tone is assigned to a midi pitch number
mod x, with nominals (white keys) and accidentals distributed as you
like. In this way pitch classes repeat at
On 17.10.2006 Daniel Wolf wrote:
The non-standard key signatures don't work that way. An octave is defined as
having x tones, each tone is assigned to a midi pitch number mod x, with
nominals (white keys) and accidentals distributed as you like. In this way
pitch classes repeat at x midi
On 16 Oct 2006 at 21:07, dc wrote:
dhbailey écrit:
That French example is a spoonerism, not an eggcorn.
I'm not so sure. Ta mère for mater is one. But tabasse for
stabat doesn't work. Besides which, all the definitions I saw say a
spoonerism is for humorous effect. This one was committed,
Hello all,
Does anyone know of a quick method to convert the playback of an orchestral
file that was created using the wizard from SmartMusic sounds to Garritan
sounds?
Thanks in advance for your help,
Brian
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Hi Brian,
There's a tutorial on this (that I wrote) in the Finale 2006
documentation, but I also thought I'd share another possible way that
I did not document in that tutorial:
Create a new, empty score using the Setup Wizard and Garritan sounds
that matches the staff order of your
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